The first section of Studley House, now part of the preparatory school for Xavier College conducted by the Society of Jesus in Kew, was built in about 1857 for Parliamentarian John Hodgson, an early settler in the district, as a two-storey residence in the Classical Revival style. The name Studley House was first recorded in the Kew ratebooks in 1862, after the house was purchased in 1860 by James McEvoy, squatter. Alterations and an extension, designed by William J Ellis were undertaken in 1875. The house was again altered in 1919 during the ownership of John Wren, former bookmaker, ALP lobbyist, influential Irish-Catholic and millionaire. After 1969 the house was used by the school. (Victorian Heritage Database, 2023)This work forms part of the collection assembled by the historian Dorothy Rogers (1905-1973), donated to the Kew Historical Society by her son in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian from the 1960s to the 1970s. Original monochrome photograph of architectural elements used in the decorative scheme on the exterior of Studley House in Nolan Avenue, Kew. The POV is of the rendered and painted Doric columns forming the ground floor colonnade. Note the Victorian tessellated tiles used on the floor of the verandah.dorothy rogers, studley house -- nolan avenue (kew), xavier preparatory school

The first section of Studley House, now part of the preparatory school for Xavier College conducted by the Society of Jesus in Kew, was built in about 1857 for Parliamentarian John Hodgson, an early settler in the district, as a two-storey residence in the Classical Revival style. The name Studley House was first recorded in the Kew ratebooks in 1862, after the house was purchased in 1860 by James McEvoy, squatter. Alterations and an extension, designed by William J Ellis were undertaken in 1875. The house was again altered in 1919 during the ownership of John Wren, former bookmaker, ALP lobbyist, influential Irish-Catholic and millionaire. After 1969 the house was used by the school. (Victorian Heritage Database, 2023)This work forms part of the collection assembled by the historian Dorothy Rogers (1905-1973), donated to the Kew Historical Society by her son in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian from the 1960s to the 1970s. Original monochrome photograph of architectural elements used in the decorative scheme on the exterior of Studley House in Nolan Avenue, Kew. The POV is of the two storey rendered and painted colonnade featuring Doric columns o the ground floor and Ionic columns on the first floor.dorothy rogers, studley house -- nolan avenue (kew), xavier preparatory school

Melbourne, Georgian House [1967] xx, 108 p. illus., map. 25 x 33 cm. non-fictionarchitecture -- domestic -- victoria, historic buildings -- victoria

One of the most comprehensive studies of mechanics institute in Victoria. Beginning from 1839 to the present. Arguably Victoria's oldest and most influential surviving institution. History of approx.1,000 institutes including building status, social adult education, library history, heritage listings, plus thematic essays about the Mechanic Institute movement and development. Includes: role of woman, architecture, schools of art and design and schools of mines. This is the most comprehensive study of mechanics institute in Victoria.History of approx.1,000 institutes including building status, social adult education, library history, heritage listings, plus thematic essays about the Mechanic Institute movement and development. Includes: role of woman, architecture, schools of art and design and schools of mines. This is the most comprehensive study of mechanics institute in Victoria.Signed by co-author Ken James on title page.libraries, educational and research establishments, mechanics institutes, surrey hall, (mr) ken james, (ms) pam baragwanath

All houses were designed to provide protection from the elements and a home base for family activities - sleeping, eating, washing, recreation and earning a living. What changes is not the purpose, but the way this purpose is achieved. This book is about all these things. It is not just about architecture. Foreword by Hon Frank Wilkes, Minister for HousingAn 80 page soft-cover book with index and numerous photos and sketches.On the front cover in top RH corner and on foreword page in Jocelyn Hall's writing: "Surrey Hills Neighbourhood Centre"architectural styles, housing - victoria, ministry of housing, architecture - domestic - victoria, (mr) nicholas hudson, (mr) peter mcewan

This extract concentrates on buildings and life styles. It is a lively introduction to the methodology of historical research, written by historians for local history enthusiasts. Ways of tracing the history of buildings is discussed in detail, and likely sources identified.This extract concentrates on buildings and life styles. It is a lively introduction to the methodology of historical research, written by historians for local history enthusiasts. Ways of tracing the history of buildings is discussed in detail, and likely sources identified.buildings, structures and establishments, architectural styles, architecture - domestic

This rug was a gift and gesture of friendship from the local Muslim community to the City of Greater Bendigo. It was presented to Mayor, Cr Rod Fyffe on behalf of the people of Bendigo at a 2016 'Thank You Bendigo' dinner. In 2014 approval for a planning application from the Bendigo Islamic Association to build a community centre and mosque in East Bendigo prompted a series of public protests that captured widespread media attention. During this tumultuous period the Council identified the need for a community-wide plan to promote diversity and help address potentially divisive cultural issues. These events led to the COGB becoming the first local government area (LGA) formally accredited under Australia’s Welcoming Cities Standard. Community leaders emerged who wanted to show that the anti-mosque protesters did not reflect the views of the majority of Bendigo residents. The community lead ‘Believe in Bendigo’ movement gained momentum, and the Council and other local organisations joined forces to present a unified message that Bendigo residents do not tolerate racism. Muslims have made Central Victoria their home since the Goldrush, contributing to the community and the economy for the past 120 years. Traditional Islamic rugs, especially their patterns and motifs are intrinsically linked with the design of the Bendigo Mosque and Bendigo Islamic Community Centre providing important points of reference for the architects of the project. Typically, mosques are linked with specific cultural groups but not in the case of Bendigo where the Muslim community is made up of multi-ethnic groups. This meant the building's design was not fixed to a specific style or cultural iconography but instead needed to encompass many. The small local Muslim community selected a specific Australian architect because of their interest and knowledge of Islamic design and iconography gained through family collection of Islamic textiles. In thinking about the design of the mosque and community centre the architects wanted to acknowledge the role of Afghans in Australian history, especially tribal Afghans who helped build connections across the interior of Australia between First Nations communities, European settlers and Central Asian migrants. The gift of this Turkmen rugto the Bendigo community thus symbolises collaborative partnerships across faith and cultural groups based on friendship and mutual benefit. A Turkman rug was specifically chosen as it is the pinnacle of nomadic arts of the Islamic world. It was also important to the architects and the local Muslim community that the gift was a female artistic product as it was mainly a female Muslim architecture team that designed the mosque in Bendigo and there was a desire to select something that celebrated female artistry. This hand-woven rug is an engsi, made for a woman in preparation for marriage. Design work and weaving is a shared experience, between many generations of women and each rug hold the personal story of the woman it is made for and her family and thus holds deep symbolic meaning. There are often songs and poetry that are recited as the rug is made – helping the makers to memorisze the mathematical structure of the design. An engsi is put on the doorway to a yurt as part of a wedding ceremony. During the ceremony the groom turns the engsii upside down to check the quality of the rug makers weaving skills. The nomadic lifestyle of Yomut Turkman tribes determines the size of the rug as the loom can’t be carried. Its size is also restricted by the dimensions of the doorway of the yurt. This rug is dated as c 1880 because of the types of patterns used, the use of natural dyes (synthetic dyes were introduced to the area in 1890s) and with the smoother weaving on the back indicating the quality of craftsmanship dating to this time period. The Yomut engsi rug was made in Turkmenistan c1880 by Yomut Turkmen Tribes people and is designed to fit over the doorway of a yurt during a wedding ceremony. The main field motif is related to Turkoman jewelery design. The women and girls of the tribe spin the wool and design and weave the rugs. The men shear the sheep, dye the wool and clip the rug after it has been woven. The word “Turkoman” is thought to have been derived from Turk-iman, meaning the first nomadic Turkic tribes that began to follow Islam. Dyes used are natural including orange from madder root. bendigo mosque, bendigo islamic association, city of greater bendigo community partnerships, city of greater bendigo community groups

Originally designed in 1857 and extended to the further designs by Bendigo Architects Vahland and Getzschmann, Emil Mauermann and William Beebe the original two story house expanded over time as Lansell's fortune increased and the subsequent mansion was built adjacent to the New Chum Reef and mine from which most of his wealth was yielded. Fortuna remained in the Lansell family for twenty nine years after George died and was sold by auction for demolition in 1934 only to be saved to become a reception house. In 1942 the Army acquired a lease for wartime mapping and occupied the site until 2008. It is now in private hands with the surrounding land being divided for housing. George Lansell was commonly known as 'Australia's Quartz-King' and director of thirty-eight mines with some link with almost every mine in Bendigo.A4 size tour booklet outlining the history, use and architectural features of Fortuna Villa which was purchased by George Lansell in 1860. mayor william beebe, george lansell

Index, ill, p.235.A description and history of the Palace of Versaillesversailles - history, versailles - architecture

Ill, p.449.non-fictionAn illustrated guide to the cathedrals of Great Britaincathedrals - great britain, church architecture - great britain

Ill, p.373non-fictionPart of his numerous writings concerned his work on Venice in three volumes: The Stones of Venice. He visited Venice in November 1849 with his wife, Effie, and stayed at the water-fronted Hotel Danieli. Their six-year marriage was never consummated and for Effie, Venice provided an opportunity to socialise, while for Ruskin it was a venue to engage in more solitary studies. In particular, he made a point of drawing the Ca' d'Oro and the Doge's Palace, or Palazzo Ducale, fearing they would be destroyed by the occupying Austrian troops. Ruskin made extensive sketches and notes for the three-volume work, which soon developed from a technical history of Venetian architecture, from the Romanesque to the Renaissance, into a broad cultural history. Cleverly Ruskin managed to reflect his own view of contemporary England and to weave in a warning about the moral and spiritual health of society. Ruskin argued that Venice had slowly deteriorated. Its cultural achievements had been compromised, and its society corrupted, by the decline of true Christian faith. Instead of revering the divine, Renaissance artists honoured themselves, arrogantly celebrating human sensuousness. It is a work of immense worth both culturally and artistically. venice, venice - architecture

Ill, p.406.non-fictionPart of his numerous writings concerned his work on Venice in three volumes: The Stones of Venice. He visited Venice in November 1849 with his wife, Effie, and stayed at the water-fronted Hotel Danieli. Their six-year marriage was never consummated and for Effie, Venice provided an opportunity to socialise, while for Ruskin it was a venue to engage in more solitary studies. In particular, he made a point of drawing the Ca' d'Oro and the Doge's Palace, or Palazzo Ducale, fearing they would be destroyed by the occupying Austrian troops. Ruskin made extensive sketches and notes for the three-volume work, which soon developed from a technical history of Venetian architecture, from the Romanesque to the Renaissance, into a broad cultural history. Cleverly Ruskin managed to reflect his own view of contemporary England and to weave in a warning about the moral and spiritual health of society. Ruskin argued that Venice had slowly deteriorated. Its cultural achievements had been compromised, and its society corrupted, by the decline of true Christian faith. Instead of revering the divine, Renaissance artists honoured themselves, arrogantly celebrating human sensuousness. It is a work of immense worth both culturally and artistically. venice, venice - architecture

Ill, p.433.non-fictionA history of the art and architecture of Venicevenice - history, venice - art

History of Ballarat Botanical Gardens, Technical drawingWhite paper; photocopy showing black line drawings of planned Fernery; Ballarat Botanical Gardens 1925L.H. Finch. Assoc. M. Inst. C. E. City Engineer 1 July, 1925fernery, architectural drawing